Visual Culture Summary
Educational goals are changing. Reforms are being made. Accountability processes are being set in place. As a result, new aims for art education are being presented and new curriculum ideas are being developed. One such aim is to integrate visual culture into the art classroom. Supporters of this integration believe “if we are able to shift our teaching practices, our curriculum content, and the aims of our field, it will be more socially relevant to the real needs of students in the 21st century” (Eisner, 2001, p. 7).
Tavin and Duncum agree with Eisner. Duncum (2002) believes Visual Culture Art Education (VCAE) unveils a new approach to curriculum and teaching for the art educator. By incorporating visual culture into art curriculum, the history, the cross-cultural influences, and the affects of images on our own culture are evaluated and integrated in art education. Tavin (2003) concurs that integration of VCAE can help students understand the power of popular culture and help them become “politically engaged in real life issues” (p. 200).
While integrating VCAE into the art classroom has positive aspects, there are also problems associated with it. It can replace art making with critique and it can place teachers in an uncomfortable position of teaching a subject they have not been trained in (Eisner, 2001). Important Concepts and Key Terms
What is visual culture? According to Tavin (2003), visual culture supports the study of popular culture in order to understand and challenge the way personal interpretations are formed through images and imaging. Tavin (2003) describes visual culture as having three interrelated concepts. First, it is phenomenological in that our knowledge and awareness of the world has changed due to imagery. Second, it is not necessarily defined by medium but as a substantial image, which includes all kinds of design. Last, it can be defined as an attempt to interpret the wealth of visual experiences in and on (contemporary) culture – a pedagogical project.
Can critical pedagogy (the science of teaching) and visual culture work together? Tavin (2003) believes that even though critical pedagogy and visual culture are transdisciplinary discourses and practices that focus on the realm of popular culture, there is a struggle that occurs between them. It occurs when the art educator attempts to help students gain insight into themselves and their world through the study of artworks exclusively from the museum realm. This approach ignores visual culture and the way students commonly create their “ever-changing identities through popular culture” (Tavin, 2003, p. 197).
Tavin (2003) believes it benefits the student when both critical pedagogy and visual culture are included in art curriculum. “Through critical pedagogy, students learn to critique popular culture in order to promote democratic public sphere and ethical imperative” (Tavin, 2003, p. 210). Through visual culture, “students embrace the study of popular culture in order to understand and challenge the way subjectivities are constituted through images and imaging” (Tavin, 2003, p. 210).
Is art, as we know it dead? Art as we know it is transforming. Tavin, Duncum, and Eisner agree that art education is changing. Duncum (2002) states that “critical understanding and empowerment—not artistic expression—are the primary goals of VCAE, but critical understanding and empowerment are best developed through an emphasis on image-making where students have some freedom to explore meaning for themselves” (p. 6). Eisner (2001) believes the spirit of art needs to be protected. The study of visual culture should be integrated not a replacement.
What changes need to be made? Eisner (2001) made specific propositions for re-shaping art education curricula. First, he suggested that visual culture be added as a segment of our courses and curriculum because it is relevant. Second, visual culture needs to be addressed in art education degree programs so art educators are prepared to teach it. Third, art educators need to use the press towards standards and accountability as an opportunity to discuss educational purposes with colleagues and evaluate what specifications are needed for standardized testing. Critical Analysis, Applications, and Personal Reflections
Visual Culture has a place within the art classroom. Living in a world where students are constantly surrounded by images, it is important for them to understand the power of visual culture and how to analyze and discern its affects. It is also important for students to have a well-rounded knowledge and understanding of art. Both must be included in art curriculum.
References
Duncum, P. (2002). Clarifying Visual Culture Art Education. Art Education, 55(3), 6-11. Eisner, E.W. (2001). Should We Create New Aims for Art Education? National Art Education Association, 54(5). 6-10.
Tavin, K.M. (2003). Wrestling With Angels, Searching for Ghosts: Toward a Critical Pedagogy of Visual Culture. Studies in Art Education, 44(3), 197-213.
Educational goals are changing. Reforms are being made. Accountability processes are being set in place. As a result, new aims for art education are being presented and new curriculum ideas are being developed. One such aim is to integrate visual culture into the art classroom. Supporters of this integration believe “if we are able to shift our teaching practices, our curriculum content, and the aims of our field, it will be more socially relevant to the real needs of students in the 21st century” (Eisner, 2001, p. 7).
Tavin and Duncum agree with Eisner. Duncum (2002) believes Visual Culture Art Education (VCAE) unveils a new approach to curriculum and teaching for the art educator. By incorporating visual culture into art curriculum, the history, the cross-cultural influences, and the affects of images on our own culture are evaluated and integrated in art education. Tavin (2003) concurs that integration of VCAE can help students understand the power of popular culture and help them become “politically engaged in real life issues” (p. 200).
While integrating VCAE into the art classroom has positive aspects, there are also problems associated with it. It can replace art making with critique and it can place teachers in an uncomfortable position of teaching a subject they have not been trained in (Eisner, 2001). Important Concepts and Key Terms
What is visual culture? According to Tavin (2003), visual culture supports the study of popular culture in order to understand and challenge the way personal interpretations are formed through images and imaging. Tavin (2003) describes visual culture as having three interrelated concepts. First, it is phenomenological in that our knowledge and awareness of the world has changed due to imagery. Second, it is not necessarily defined by medium but as a substantial image, which includes all kinds of design. Last, it can be defined as an attempt to interpret the wealth of visual experiences in and on (contemporary) culture – a pedagogical project.
Can critical pedagogy (the science of teaching) and visual culture work together? Tavin (2003) believes that even though critical pedagogy and visual culture are transdisciplinary discourses and practices that focus on the realm of popular culture, there is a struggle that occurs between them. It occurs when the art educator attempts to help students gain insight into themselves and their world through the study of artworks exclusively from the museum realm. This approach ignores visual culture and the way students commonly create their “ever-changing identities through popular culture” (Tavin, 2003, p. 197).
Tavin (2003) believes it benefits the student when both critical pedagogy and visual culture are included in art curriculum. “Through critical pedagogy, students learn to critique popular culture in order to promote democratic public sphere and ethical imperative” (Tavin, 2003, p. 210). Through visual culture, “students embrace the study of popular culture in order to understand and challenge the way subjectivities are constituted through images and imaging” (Tavin, 2003, p. 210).
Is art, as we know it dead? Art as we know it is transforming. Tavin, Duncum, and Eisner agree that art education is changing. Duncum (2002) states that “critical understanding and empowerment—not artistic expression—are the primary goals of VCAE, but critical understanding and empowerment are best developed through an emphasis on image-making where students have some freedom to explore meaning for themselves” (p. 6). Eisner (2001) believes the spirit of art needs to be protected. The study of visual culture should be integrated not a replacement.
What changes need to be made? Eisner (2001) made specific propositions for re-shaping art education curricula. First, he suggested that visual culture be added as a segment of our courses and curriculum because it is relevant. Second, visual culture needs to be addressed in art education degree programs so art educators are prepared to teach it. Third, art educators need to use the press towards standards and accountability as an opportunity to discuss educational purposes with colleagues and evaluate what specifications are needed for standardized testing. Critical Analysis, Applications, and Personal Reflections
Visual Culture has a place within the art classroom. Living in a world where students are constantly surrounded by images, it is important for them to understand the power of visual culture and how to analyze and discern its affects. It is also important for students to have a well-rounded knowledge and understanding of art. Both must be included in art curriculum.
References
Duncum, P. (2002). Clarifying Visual Culture Art Education. Art Education, 55(3), 6-11. Eisner, E.W. (2001). Should We Create New Aims for Art Education? National Art Education Association, 54(5). 6-10.
Tavin, K.M. (2003). Wrestling With Angels, Searching for Ghosts: Toward a Critical Pedagogy of Visual Culture. Studies in Art Education, 44(3), 197-213.